At the root of my practice lies, what appears to be, a self-contradictory state of affairs in which the analytic order of the trained scientists stands in sharp contrast to the diffuse world of the artist who resists all formal constraints. Nevertheless, the contrast between the irreconcilable extremes of form and formlessness, order and chaos, sense and nonsense is the inspiration behind much of my work.

Originating out of research and written text, my work forms a multimedia travelogue realised through sculptural form, sound and video. In my travels, I explore both land and mind reflecting on themes such as environmental and urban collapse. I am fascinated by the act of folding as a means to disrupt the norm.  A disruption which is underpinned by my ongoing research into baroque art and philosophy and through which I explore social and bodily turmoil.

My practice often revolves around the tension between 2-D ‘confinement’ and 3-D spatiality. Using soft materials, such as fabric, paper and latex these ideas become actualized in performative acts which transform the work from 2-D to 3-D and back. My process often begins with an exploration of physical materials and their temporal properties, such as latex and stone. Recently, I have focused on ideas of different scales of temporality. On the one hand, entropy measures disorder and the inevitable decay of things through time, while on the other hand, the mirror acts to create timeless encounters.

I am particularly interested in the idea of the baroque and how it might be considered a speculative concept which refuses to conform to notions of containment. My recent work draws on the Leibnizian idea of the baroque monad which exists neither in time nor space, yet each contains the whole world.  Deleuze offers an allegory in which the monad has two inseparable floors in harmony. The upper floor contains the soul and the lower floor of the body. Each monad is closed and cannot influence another.